And out of the combo of the 210 and 115 compared with the 410 you have, which has the most bottom end / punch?
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BEST BASS CABS FOR RECORDING
- Thread starter Analogman
- Start date
And out of the combo of the 210 and 115 compared with the 410 you have, which has the most bottom end / punch?
Ric5
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- Jan 29, 2008
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- I like 5, 8, 10, and 12 string basses
You can always eq out frequencies that are there, but you can't always put frequencies that are not there.
I just got done with a session using a SVT CL and a 410 HLF, mic'ed at about 18 inches away. With the gain pushed, mid's bumped and power tubes pushin' a bit, I got a really nice heavy, punchy, grindy tone. After taken a little energy away from the low end, it sat really well in the mix. Think Gov't Mule and Woody tone. Kind of what I was going for. I think a Berg NV115 would also do really well in a studio setting as long as you can an 8ohm cab but pricing would be more expensive.
$900 for the U vs $1049 for the XLS, same ballpark cost wise. Buying used mics can be dicey unless you can rely on the seller to be offering a good mic.
Can anyone tell me what I might be missing out on by plugging directly into my Focusrite interface? The tone I get is adequate for home recording and with proper tweaking, things sound just fine. I just wonder if investing in a proper DI is really worth it. Recording drums is where the real trouble comes along... But that's for a different forum.
If you're limited by space it really depends on how you plan to record. Will bands be recording "live" together or separate? If they're recording together you may need something big like you mentioned. But if they're recording separate you can easily get away with a 50(or smaller) watt combo amp. But more likely than not, you will find yourself going DI most of the time anyway. Another thing to look into would be an isolation box if you plan to have the bands record at the same time. They're easily one of the best things to keep guitar/bass bleed out of other tracks if your space is limited, and they're fairly easy to make.
The 4.5XL- I really like that cab. I have the 210 in my living room with a Hartke 3500 head. I use that rig for noodling/practicing.
No to get of the topic, but that 4.5XL in a great cab. It's just too heavy for a lot of folks (100lbs). IMO you really can't beat in for the 450.00 US they go for new. You have to spend twice that to get something comparable and even at that price point, the difference is negligible. I've compared the 4.5XL head to head with a couple different $1000.00+ Epifani cabs and although one of them did sound a smidg better, it was not 600 or 700 bucks better for sure.
They're for chinese man 414's... which definitely don't sound as good as the originals!
You can get a 70's 441 for around £300 here. A 70's c414 is around £1200! :S
The
410he in an iso box is what i use. We've tried a few combinations of signals over the years but my favorite is the 410he with a shure 58 (not the beta 58 which is a hotter mic) and that is blended with the xlr out from my preamp. It may sound odd using a 58 which is a vocal mic on bass but it actually does complement the xlr signal from the pre very well. So basically what I do is run a full range xlr signal and then the mic signals frequency range is limited by both the cab and the mic. so instead of those signals fighting each other the mic signal is used to emphasize mids and add a lively character to the bass. I don't mind using an xlr by itself live because the acoustics of the venue give your bass a "lively" sound, but in the studio I think just running an xlr sounds lifeless, the issue with just using a mic is it you don't get that full range of frequencies. so in the studio, using both is the way to go.
I don't think you're missing anything. I've had some good action plugging in direct. I just prefer using a mic too.
It's mostly for recording individually, but I really like the tone of some of the bigger amps. The best sound I've hear to my ears came from a 70's classic and an 8x10... I would like a similar sound, but something more reliable... hence the alembic preamp and separate power amp. Sure, it' not the ampeg sound, but with the two valve channels, you can mess with the sound and get a nice break up.. plus i have a couple of pedals (fuzz and over drive) to help emulate more of the ampeg break up... Just need a cab that will support that beef
Gaolee
Official leathers tester and crash dummy
I have had good luck plugging the upright directly into a Focusrite interface. It has a Full Circle piezo pickup and it sounds pretty good. It sounds even better recorded with an Avantone tube condenser mic. I don't remember the model number. Recording drums can be a bear! I sure haven't figured out how to do it in the space I have with the equipment I have yet. I also haven't spent that much time on it, so take that for what its worth. We were attempting to record upright bass, electric guitar, drums, and vocals all at once. It mostly worked, but the result didn't have a lot of room for tweaking due to the drums pouring into everything else.
I haven't tried recording the BG, but since I don't have a DI at this point, I would probably just point an SM58 at the Acoustic 408 cabinet that I use as the practice rig from hell and just not turn up the volume very much.
I completely agree.
Using the various waves plug ins you can get a good sound, but it always has something missing...
How do you find the 410he cab for low end...
I'm trying to create and record recordings that are bass driven... Distorted, angry, in your face, knock you out bass sounds. Is the HE able to handle that. I'm using a 4 string with an octave pedal. Some people have said that the sound is thin and no bottom end... flaps around when pushed??
When close micing the size of the speaker really doesn't matter. Finding the sound you're looking for is much more important. Look for the sound, not the size.
I did a quick test recording 2 years ago of an S15d with just a regular sm58beta mic, & I really liked how it sounded. I'll get another pair of those in the future for sure.
- May 15, 2007
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I like a blend of direct and mic. The direct line is super tight and focused, so I like a cabinet that breaks up a little bit (not distorted, but just at that break up point). For that in a studio setting, I prefer low watt amps and small, low power speakers, either a 210 or 112. I set up an SM 57 about 6-12" from the speaker and then a condenser 4-6' away.
the 410he tonally is pretty much a 810e cut in half, in fact we a/b the 410he and 810e in the studio and mic signals sound the same. Ive been using the 410he full time for about 3 years and owned a 810e for a decade before that. the ampeg classic series has been produced in several factories and even countries over the years but in some years the 410he actually has the exact same speakers as the 810e. no one says the 810 sounds thin or that its a top cab. Its just a different voicing than ported cabs. I play 5 string in standard beadg and drop aeadg through this cab. IMO the only negative about it and the reason for most of the bad reviews the cab gets is its an 8ohm cab. a lot of times people don't realize because its 8 ohms instead of 4 ohms that their amp is likely working really hard while under powering the cab. For power I use a crown 1500 xls bridged to power the 410he and I push it pretty hard. most of the bad reviews are people using 350w or 500w at 4ohm heads, so the reality is those small amps are only putting out like 150-250W at 8 ohms into a cab that wants at least double that power to be happy. basically you need a rig that can potentially power an 810 happily to get the best out of the 410he. As far as lows if you're the type of player that uses relatively flat eq for rock or metal than its works fine, if your one who boost lows a lot to play styles like reggae or hip hop its probably not the best choice.
